The National Palace Museum of Korea is presenting a groundbreaking exhibition featuring all six surviving murals from Changdeokgung Palace's residential halls for the first time in history. The special exhibition, titled "Respectfully Portrayed Murals at Changdeokgung Palace," runs from Thursday through October 12 and commemorates the museum's 20th anniversary.
These six large-scale murals hold exceptional historical significance as the last examples of royal court painting in Korea. Created in 1920 for the Huijeongdang, Daejojeon, and Gyeonghungak halls at Changdeokgung Palace, the masterpieces measure up to nine meters wide. The works were originally mounted above interior doors in the palace's reconstructed halls following a devastating 1917 fire that required extensive rebuilding efforts.
The murals remained in their original positions for over a century before undergoing careful restoration and transfer to the museum for preservation and public display. "These masterpieces bring together over a century of royal history, art and resilience," said Jeong Yong-jae, director of the National Palace Museum of Korea, during a press briefing on Wednesday. He emphasized the deep significance of offering the public an opportunity to appreciate these works, which are recognized for their historical and artistic excellence as state-registered cultural heritage.
The creation of these murals represents a unique moment in Korean art history, blending traditional court styles with modern influences. Distinguished artists such as Kim Gyu-jin, Kim Eun-ho, and Lee Sang-beom worked on these pieces, notably inscribing their names alongside the phrase "geunsa" (respectfully portrayed). This practice represented a rare expression of personal authorship in art produced by royal court artists, marking a departure from the typically anonymous nature of court commissions.
The exhibition is thoughtfully divided into two distinct sections to provide visitors with comprehensive insights into these remarkable works. The first section presents each mural in depth, including newly restored pieces from Gyeonghungak hall and a preparatory sketch for "White Cranes." Lee Hong-joo, a researcher at the Exhibition & Publicity Division of the National Palace Museum of Korea, highlighted the significance of displaying Kim Eun-ho's original preparatory sketch for "White Cranes" for the first time.
"Kim Eun-ho's original preparatory sketch for 'White Cranes' is being exhibited for the first time, and as you can see, the moon is not included in the initial draft," Lee explained. The sketch was created as part of a collaborative process designed to ensure harmony with "Phoenixes," the joint work by Oh Il-young and Yi Yong-u that was displayed opposite it. This collaborative approach allowed artists to make final adjustments to ensure the completed paintings worked together harmoniously in their intended space.
The second section of the exhibition features "Magnificent Murals Awaken Once More," an innovative digital installation that reimagines the historic artworks through interactive media technology. This modern interpretation allows visitors to experience the murals in new ways while appreciating their original context and artistic merit.
To enhance the educational value of the exhibition, the museum has planned an extensive program of complementary activities. These include scholarly lectures, youth workshops, and hands-on programs designed for both families and adults. The programming is specifically designed to spotlight the historical and cultural significance of palace murals in Korea's artistic transition from traditional court art to modern artistic expressions, providing visitors with a deeper understanding of this pivotal period in Korean cultural history.
